Concerto for Flute and Orchestra

What is a concerto in the twenty-first century? As I see it, we are all soloists in the concerto of our own lives. Music is only the abstract reflection of models found in nature, and the soloist–orchestra relationship is like that between an individual and a group: each of us lives and acts within different groups, in which we sometimes initiate, lead, influence and set the tone, and sometimes draw inspiration and ideas, blend in, fall silent, listen, turn over other people's thoughts, and hold a dialogue or a many-sided conversation. The more we refine these capacities, the more harmoniously we live. That, for me, is the essence of a concerto: to follow the interplay between the soloist and their community through musical materials that roll between them, develop, are absorbed, interrupted, intensified and silenced.

The flute needs no recommendation from me. Despite the changing fashions in instruments — violin, piano, electric guitar, synthesizer, drums — human beings have played the flute, in its many forms, since the dawn of history and in every culture on earth. There is evidence in the Bible, in archaeological finds and in literature; we all know the tale of the Pied Piper of Hamelin and Mozart's Magic Flute. It has its place in Jewish tradition too: a famous Hasidic story of the Baal Shem Tov tells how the sound of the flute alone, among all the prayers, breached the gates of heaven.

Noam Buchman, the soloist in this work, has been principal flute of the Jerusalem Symphony Orchestra for many years and an active soloist who has premiered many works and performed in recitals and concertos around the world. There is thus a particularly interesting relationship here between an individual and the community to which he belongs as an equal among equals in ordinary times — and the piece examines that relationship under a magnifying glass. As a seasoned and celebrated player, Noam offered me a wide range of ideas and colours to explore. He sought, above all, a melodic work — melody was what he most wanted — and that was my starting point.

The first movement is a mysterious, lyrical melody using both alto flute and ordinary flute. The second is based on my string-quartet piece Cannot Go Back, but with the flute now central — more dramatic and stormy, with extended string techniques and flute virtuosity. The third is cinematic, very melodic and sentimental, summing up the work emotionally.

Movements

1. I - Magic and Mysterious — A mysterious, suspenseful melody, combining alto flute and ordinary concert flute.
2. II - Energetic and Rhythmic — Based on another piece of mine for string quartet, 'Cannot Go Back', except that here the flute takes the central place; this movement becomes more dramatic and stormy, combining extended string techniques with great virtuosity for the flute.
3. III - Gentle, Sincere — Cinematic, very melodic, very sentimental — it summarises the work emotionally.

Commissioned by Noam Buchman (proposed and commissioned it).

Premiere: Noam Buchman, principal flute of the Jerusalem Symphony Orchestra.

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